Nella ricerca dei font tipografici tedeschi del XIX seolo mi sono basato soprattutto su questo sito:

Questa è stata la prima selezione dei font da cui ho scartato l’Akzident e lo Haas

I DIN finali riguardano la titolazione dei credits


First released by Wilhelm Woellmer in 1911 in a bold weight, followed by schmal halbfett (bold condensed, 1912) and eng (condensed, 1913) styles. The family was completed with schraffiert (hatched, 1922) and schlank (compressed, 1926, with less open shapes) styles. The original (bold) weight and the bold condensed weights were also made in Cyrillic versions. Later taken over and cast by Schriftguss. [Reichardt, Seemann] Similar to Berthold’s Block series.

Also cast in Poland by the Idźkowski foundry: Their Blok series comprised 3 styles that appear to be adaptations of Hermes; Blok smukły (eng), ściągły (schmal halbfett), and ciężki (bold). Completed by a 4th style, Blok Apis, which is a copy of Berthold’s Enge Block. [c.1930s specimen] At least Blok ściągły was also produced for dry transfer lettering by the Polish Letraset equivalent Kalgraf.


Gangsar is a Condensed typefamily, Inspired by Enge Hermes


The original Aurora Grotesk dates back to the Johannes Wagner Foundry, but Paul Barnes points out that the same typeface appears under multiple names in the Handbuch der Schriftarten:

  • Akzidenz-Grotesk, Breite fette, Haas’sche Schriftgießerei
  • Aurora Grotesk, C.E. Weber (12 styles; scan by Ulrich Stiehl)
  • Edel-Grotesk, Fette, Ludwig Wagner
  • Favorit-Grotesk, Otto Weisert
  • Klassische Grotesk, Breite fette, J. D. Trennert&Sohn
  • Koloß, Breite, J. John Söhne, Hamburg
  • Krupp-Hallo, Wagner&Schmidt and then Ludwig&Mayer
  • Progreß-Grotesk, C. E. Weber
  • Siegfried-Grotesk, D. Stempel
  • Venus-Grotesk, Breite fette, Bauersche Gießerei


A dark, condensed, nineteenth century sanserif made popular by Linotype, the capitals deriving from Barnhart Brothers and Spindler, the lowercase from Farmer.


Designed in-house at Schelter & Giesecke in 1870. [Wetzig 1926] Probably released in 1890. [Reynolds] Breite halbfette Grotesk and Breite fette Grotesk are bolder additions. Sold by Reggiani as Eia [1937 specimen] and by Nebiolo as Etrusco chiara. [1958 specimen]


Venus or Venus-Grotesk is a sans-serif typeface family released by the Bauer Type Foundry of Frankfurt am Main, Germany
Released in a large range of styles, including condensed and extended weights, it was very popular in the early-to-mid twentieth century, It was exported to other countries, notably the United States, where it was distributed by Bauer Alphabets Inc, the U.S. branch of the firm.

Like other “grotesque” typefaces of the period such as Akzidenz-Grotesk of the Berthold Type Foundry, Venus has a minimal, ‘neutral’ design, with a monoline structure and an absence of flourishes. However, compared to many later sans-serifs, such as Helvetica and Univers, it has a more irregular design, with stroke terminals at a variety of angles rather than generally exactly horizontal or vertical.


Natron è un font recente debitore del Neue Moderna Grotesk


I font che immagino per i credit sono il DIN Next Pro Condensed Bold e il DIN Next Pro Condensed Obligue, entrambi molto spaziati



Nessun logo, interlinee sbagliate (nel paragrafo LUMI), titoli incompleti


La domanda: di quanto si può oltrepassare l’audio del brano titoli?


Se il roll è troppo veloce; comunque ho fatto la versione laterale completa